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Reviews Marvels & Tales Editors Marvels & Tales Volume 23 | Issue 1 Article 14 4-1-2009 Reviews Marvels & Tales Editors Recommended Citation Editors, Marvels & Tales. "Reviews." Marvels & Tales 23.1 (2009). Web. <http://digitalcommons.wayne.edu/marvels/vol23/iss1/ 14>. 23385_13_175_208_r2ri.qxp 5/11/09 8:48 AM Page 175 REVIEWS 1 2 3 4 5 6 7 8 9 10 Stars and Keys: Folktales and Creolization in the Indian Ocean. By Lee 11 Haring with translations by Claude Ricaud and Dawood Auleear. Bloomington: Indi- 12 ana UP, 2007. xxv + 413 pp., preface, acknowledgments, chronology, 5 maps, photo- 13 graphs, appendix, notes, bibliography, index. 14 This is not your ordinary collection of folktales. After thirty years of work 15 in the multicultural islands of the Indian Ocean, Lee Haring offers us instead a 16 masterful translation (both linguistic and cultural) of storytelling across tradi- 17 tions, and a manifestation of what may well be called “creolized scholarship.” 18 Stars and Keys: Folktales and Creolization in the Indian Ocean is thus a fresh col- 19 lection of folktales in which traditions from Africa, South Asia, Europe, and 20 the Middle East blend together to produce a corpus of creolized verbal art. 21 Diverging from standard practice, Haring innovates on the well-known 22 genre of the “folktale collection volume” by joining his voice in a dialogic man- 23 ner with that of traditional old-time and current storytellers. In the preface, he 24 describes his presentation of the stories as follows, addressing the reader di- 25 rectly: “Some are cited without interruption; a few are translated only in part, 26 or summarized. Into others, I interpolate commentary as if I were reading to 27 you and then looking up to explain something from time to time.” 28 But more is going on here. Set in non-bold typeface to distinguish them 29 from the bold of the regional storytellers’ narrative, Haring’s comments are not 30 your standard fare of glosses, annotations, or marginal notes; they are woven 31 into the very flow of the stories themselves. To be sure, in many of the stories 32 Haring’s words far outnumber those of the actual tale. And though in the pref- 33 ace he wryly comments that the use of different typefaces allows us to clearly 34 distinguish voices in the text, thereby making it possible for the reader to “skip 35 the boring parts (whichever those are),” I for one discovered in the course of 36 reading that I looked forward as much to what Haring “looked up” to tell me 37 as to what was coming next in the story itself. In this respect, the author’s per- 38 formance of each tale is a new, enlightened version of local narratives (for the 39 first time in English) for an audience of readers beyond the Indian Ocean. 40 S 41 R Marvels & Tales: Journal of Fairy-Tale Studies, Vol. 23, No. 1, 2009 175 2nd Pass Pages 23385_13_175_208_r2ri.qxp 5/11/09 8:48 AM Page 176 REVIEWS 1 Haring contextualizes and elucidates each tale, providing historical and 2 geographical facts, correspondences with important tale indexes, particulars 3 about the tellers, relevant details of literary and cultural scholarship, and the 4 like. More important, and perhaps more intriguing, however, we learn through 5 the reflections and insights provided by Haring how to think about these sto- 6 ries, how to process them as creole art, how to extrapolate from them to better 7 understand the larger culture, and how to relate them to the broader fields of 8 literature and literary criticism. Only a scholar fully versed and immersed in 9 the culture and narrative tradition of the Southwest Indian Ocean could have 10 attempted this feat with such authority and elegance. Indeed, Haring models 11 for us a form of “creolized” scholarship that uncovers a “creole aesthetic,” re- 12 quiring nothing less of him than a deep cultural intimacy with the region, a 13 discriminating capacity to both cross and collapse disciplinary boundaries, 14 and a finely honed understanding of the performance styles and poetics of this 15 cultural area. 16 Stars and Keys borrows its title, as Haring explains, from the Latin phrase 17 on the coat of arms of Mauritius: Stella Clavisque Maris Indici, The Star and Key 18 of the Indian Ocean. The author then puns on Stars, appropriating the word to 19 title a section of the volume that highlights storytellers (pictured in the book) 20 who are star performers. In another of the book’s five sections, titled “Keys,” he 21 plays on that word to identify tales that unlock a creole aesthetic. The opening 22 section of the book, composed primarily of “origin” narratives, takes its title 23 (“Land of the Man-Eating Tree”) from one of the stories. The section “Dias- 24 pora” follows, where Haring considers displacements and transpositions, pay- 25 ing important attention to (among other elements) “interperformance,” the 26 role of tricksters, and the dynamics and effects of translation. The collection 27 ends with the section labeled “Postcolonial Seychelles,” which begins with the 28 author’s wondering whether tales whose voices hark back to an ancient past 29 will be treated in contemporary post-emancipation times as “outmoded relics, 30 dull museum objects, quaint anthology pieces, or promising materials for re- 31 working.” About the larger questions facing all folklorists, as well as those 32 specifically concerning the Southwest Indian Ocean, he further inquires: “What 33 will globalizing influence do to inherited traditions? Will these old stories 34 evoke a nostalgic call to return to the inherited past, or will they become to- 35 kens in a free play of cultural goods without substance—in other words, in a 36 postmodern Seychelles?” 37 These and countless other provocative interrogations and reflections make 38 every page of Stars and Keys a rich and demanding text. Yet, despite his copi- 39 ous insights and commentary, Haring’s voice at no time overshadows the tradi- S 40 tion of the tale at hand; every storyteller and story in this collection of 121 R 41 folktales is clearly heard. 176 Marvels & Tales: Journal of Fairy-Tale Studies, Vol. 23, No. 1, 2009 2nd Pass Pages 23385_13_175_208_r2ri.qxp 5/11/09 8:48 AM Page 177 REVIEWS The book contains other valuable supporting information (particularly for 1 those less familiar with this part of the world). A seven-page “Chronology of 2 the Southwest Indian Ocean” (from CE 500 to 2002) details the more conven- 3 tional epochs of the early settlements, European arrival, slavery, colonial pe- 4 riod, and independence, but also includes a less easily labeled period (dating 5 from 1835 to 1893) that Haring calls “Abolition, Indenture, Scholarship.” Five 6 maps drawn specifically for this volume situate and orient the reader in the ge- 7 ography and ethnic settlements of the Southwest Indian Ocean. Scholarly 8 notes organized by chapters at the end of the book, followed by nineteen pages 9 of works cited and an index, provide the academic apparatus not included in 10 (and hence not encumbering) the explications within the tales. These and 11 other references, such as the appendix of the “Indian Ocean Versions of the 12 ‘Defiant Girl’ (La Fille difficile), Cross Referenced to Numbering in Görög-Karady 13 and Seydou 2001,” make Stars and Keys an indispensable resource. 14 The only thing missing is the music of the songs, which “is left for some 15 future CD,” Haring writes. “As it’s a book of stories,” the author further notes, 16 “[Stars and Keys] says little about other forms of folklore still to be researched 17 in the islands: riddles, proverbs, poetry, oratory, song, music, dance, costume, 18 cookery.” Similarly unrepresented are some ethnic and language groups in the 19 islands, such as Chinese in Mauritius and Indians in Réunion. These will have 20 to await future research, he explains, underscoring the more urgent need to at- 21 tend to the folktale, for “[l]ike the novel of nineteenth-century Europe, the cre- 22 ole folktale is the dominant literary form of the Southwest Indian Ocean” and 23 thus “both reflects and influences how people live.” Moreover, the author feels 24 an urgency to make better known this literary corpus. “Now that capturing 25 and transmitting verbal art is so easy, with cheap recorders and the Internet, 26 ‘literature’ and ‘folklore’ will coalesce,” he notes, acknowledging further: “The 27 broadening of the literary canon requires a massive program of retrieval, to 28 which this book contributes.” 29 In sum, Stars and Keys provides a reassessment (indeed a recalibration) of 30 the status and relationship between folklore and literature, orality and writing, 31 in the world today. It further demonstrates that the “cultural creolization visi- 32 ble in places such as the Southwest Indian Ocean offers a model wherewith to 33 understand the cultural convergences of Europe and the rest of the postmod- 34 ern world.” 35 The contributions of Stars and Keys (both to the field and to a wider audi- 36 ence) are vast. While the book might appear at first sight to be “very special- 37 ized”—to echo the phrase used by a young French woman characterizing 38 Haring’s work in the volume’s opening anecdote, words that leave him feeling 39 “perceived, though not profoundly understood”—this study, in fact, will be of 40 S universal interest to all who are engaged in producing “any viable theory of world 41 R Marvels & Tales: Journal of Fairy-Tale Studies, Vol. 23, No. 1, 2009 177 2nd Pass Pages 23385_13_175_208_r2ri.qxp 5/11/09 8:48 AM Page 178 REVIEWS 1 culture.” Indeed, by not merely perceiving, but in profoundly understanding 2 this remarkable book, readers will find themselves challenged to revise notions 3 of what literature is and what we as scholars of verbal art do.
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